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1.
Piccolo Quintet
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In 1989 the composer Graham Waterhouse was a cellist of the orchestra of the Schleswig-Holstein Musik Festival, conducted by Sergiu Celibidache. The piccolo player of the orchestra suggested a composition, Celibidache influenced the work. The quintet in one movement of about 16 minutes is in sonata form, a virtuoso coda concludes the work. The sound of the piccolo is combined with the similar to wind instrument. The Quintet was first performed on 1 January 1990 in a concert in London. In 2002 the Quintet was published by Zimmermann and it was performed in Munich at the 1. Sergiu Celibidache Festival on 13 October 2002 in a lecture concert, the performers were Katharina Kutnewsky, Daniel Nodel, Anja Traub, Gunter Pretzel and Graham Waterhouse. The first performance in the UK was on 5 November 2002 in a portrait concert in St. Cyprians Church, London. Monica McCarron played the piccolo with the Tippett String Quartet, the concert was also the premiere in the UK of the trio Gestural Variations. On 5 October 2003 the Quintet was performed in a portrait concert in the Kleiner Konzertsaal of the Gasteig. Yaron Traub conducted music for one to ten players, the concert was the premiere of the composers Bassoon Quintet. Ulrich Biersack played piccolo, Lyndon Watts bassoon, the quartet for both works was formed by Odette Couch, Kirsty Hilton, Isabel Charisius and the composer

2.
Rebonds (Xenakis)
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Rebonds is a composition for solo percussion by Greek composer Iannis Xenakis. It was composed between 1987 and 1989 and, together with Psappha, is one of the two compositions for solo percussion by Xenakis, rebonds was written for percussionist Sylvio Gualda, for whom Xenakis had also dedicated other chamber compositions, such as Komboï. It was later published by Éditions Salabert, in an edition revised by Patrick Butin, the composition is in two autonomous movements, named A and B, which take up to 12–13 minutes to perform. The first movement uses only skins, with two bongos, three tom-toms, and two bass drums, the second movement, however, uses two bongos, one tumba, one tom-tom, bass drums, and a set of five wood blocks. According to Xenakis, the order of the composition is not fixed, either first A, then B, or vice versa, some thematic structures were later featured in Okho. Rebonds has been well received by critics and musicians. The following is a list of performances of this composition

3.
Symphony No. 4 (Davies)
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The Symphony No.4 by Peter Maxwell Davies was commissioned for the Scottish Chamber Orchestra by Christian Salvesen plc and composed in 1989. 9, only on a larger scale, on the other hand, like Davies’s earlier symphonies, the symphony stems from a mixture of a plainchant source on the one hand, and a moment in the composers personal experience on the other. Such transformational treatment of plainchant melodies has been a characteristic of Daviess music since the 1957 sextet Alma Redemptoris Mater, the second source was the haunting sight of a golden eagle taking flight at sunrise, which the composer did not attempt to portray literally. The symphony is scored for an orchestra of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. These forces reflect Daviess exploration at that time especially of the symphonies of Haydn and Mozart, the symphony is in four movements, though they are played without break, Moderato Allegro Adagio Andante – Allegro The symphony begins with a sort of ghost sonata with a disguised recapitulation. It is the first of a series of one-sided parentheses refracting the structure toward a series of three short, concentrated statements at the end of the symphony. The second movement unexpectedly proves to be a scherzo instead of the slow movement forecast by the transition from the end of the first movement. However, the Adagio third movement occurs instead of the central trio. Maxwell Davies, Trumpet Concerto, Symphony No.4, John Wallace, Scottish National Orchestra, Scottish Chamber Orchestra, c composer. Peter Maxwell Daviess Basic Unifying Hypothesis, Dominant Logic, in Perspectives on Peter Maxwell Davies, edited by Richard McGregor, 115–37. Burlington VT, Singapore, and Sydney, Ashgate Publishing, Perspectives of New Music 38, No. Revelation and Fallacy, Observations on Compositional Technique in the Music of Peter Maxwell Davies, Music Analysis 13, nos. 2–3, 161–202. Peter Maxwell Daviess Symphony No.4, liner notes in booklet accompanying Sir Peter Maxwell Davies, Trumpet Concerto, Symphony No. John Wallace, Scottish National Orchestra, Scottish Chamber Orchestra, Sir Peter Maxwell Davies, Peter Maxwell Daviess Recent Music, and Its Debt to His Earlier Scores. In Perspectives on Peter Maxwell Davies, edited by Richard McGregor, burlington VT, Singapore, and Sydney, Ashgate Publishing. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, arnold Whittall Goes in Search of the Great Mystery of Maxwell Davies, Who Celebrates His 60th Birthday This Month

4.
Toward the Sea
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Toward the Sea is a work by the Japanese composer Tōru Takemitsu, commissioned by Greenpeace for the Save the Whales campaign. Each version lasts around 11 minutes, the work is divided into three sections—The Night, Moby-Dick, and Cape Cod. These titles are in reference to Melvilles novel Moby Dick, or The Whale, the composer wished to emphasise the spiritual dimension of the book, quoting the passage, meditation and water are wedded together. Most of the work is written in time, with no bar lines. In each version, the flute has the primary line, based in part on a motif spelling sea in German musical notation. This motif reappeared in several of Takemitsus later works, notes to I Hear the Water Dreaming Deutsche Grammophon 453 459-2. Notes to Mountains toward the Sea Beep BP34